The role of portraiture in fiction

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That autumn Matryona had many grievances. A new pension law had just come out, and her neighbors encouraged her to seek a pension. She was lonely all around, but since she began to get very sick, she was released from the collective farm. There were a lot of injustices with Matryona: she was sick, but was not considered disabled; She worked on a collective farm for a quarter of a century, but because she wasn’t at a factory, she was not entitled to a pension for herself, and could only get it for her husband, that is, for the loss of a breadwinner. But my husband had been gone for twelve years, since the beginning of the war, and now it was not easy to get those certificates from different places about his stash and how much he received there. It was a hassle to get these certificates; and so that they write that he received at least three hundred rubles a month; and certify that she lives alone and no one is helping her; and what year is she? and then carry it all to social security; and reschedule, correcting what was done wrong; and still wear it. And find out whether they will give you a pension.

These efforts were made more difficult by the fact that the social security service from Talnov was twenty kilometers to the east, the village council was ten kilometers to the west, and the village council was an hour’s walk to the north. They chased her from office to office for two months - now for a period, now for a comma. Each passage is a day. He goes to the village council, but the secretary is not there today, just like that, as happens in villages. Tomorrow, then, go again. Now there is a secretary, but he does not have a seal. The third day, go again. And go on the fourth day because they signed blindly on the wrong piece of paper; Matryona’s pieces of paper are all pinned together in one bundle.

They oppress me, Ignatich,” she complained to me after such fruitless passages. - I was concerned.

But her forehead did not remain darkened for long. I noticed: she had a sure way to regain her good mood - work. Immediately she either grabbed a shovel and dug up the cart. Or she would go for peat with a bag under her arm. And even with a wicker body - up to the berries in the distant forest. And bowing not to the office desks, but to the forest bushes, and having broken her back with burdens, Matryona returned to the hut, already enlightened, satisfied with everything, with her kind smile.

Now I’ve got the tooth, Ignatich, I know where to get it,” she said about peat. - What a place, it’s just nice!

Yes, Matryona Vasilyevna, isn’t there enough peat for me? The car is intact.

Eww! your peat! so much more, and so much more - then, sometimes, it’s enough. Here, as winter swirls and fights against the windows, it doesn’t so much drown you as blows it out. In the summer we trained a lot of peat! Wouldn’t I have trained three cars now? So they get caught. Already one of our women is being dragged to court.

Yes, it was like that. The frightening breath of winter was already swirling - and hearts were aching. We stood around the forest, but there was nowhere to get a firebox.

(A.I. Solzhenitsyn)

Composition

The author focuses on the fate of a simple, lonely village woman - Matryona Vasilievna. There were many troubles in her difficult life - she buried her husband, six children, worked all her life not for money, but for sticks, but, despite all the hardships and adversities, Matryona did not lose the ability to respond to someone else's misfortune, to live according to her conscience. And therefore the heroine is seen by both us, the readers, and the author as a real Russian righteous woman. A.I. Solzhenitsyn manages to create this image with the help of various artistic means.

The heroine’s appearance may be inconspicuous, but an inner light emanates from her soul. The author manages to convey this using the epithets “enlightened” and “kind”. One gets the impression that Matryona is a holy person who lives exclusively according to the laws of morality. The “enlightened” heroine returns to the hut. She is getting old and regrets her former strength.

The hut was strong and well built. Yes, time takes its toll here too. Chips fly, cracks show through. Matryona can no longer hide in her hut. “The breath of winter” (the author uses personification) swirls around the house and “duels through the windows.” And “the hearts ached” from fear of the inevitability not of the winter cold, but of the cold of the human soul.

An important means of creating the image of Matryona is also speech characteristic. The author saturates the heroine's remarks dialect words(for example, “summer”), vernacular (“tepericha”, “skolischa”). In general, these lexical means give Matryona’s speech figurativeness, poetry, and expressiveness. The words “duel”, “kartovy”, “lyubota”, sounding from the lips of a simple Russian woman, take on a special meaning. Such word creation testifies to the heroine’s talent, her closeness to folklore traditions, to people's life.

Matryona is a real hard worker. Her whole life is filled with actions and events. The heroine does not sit idle for a minute, despite senile infirmity and illness. The author's description of Matryona is replete with verbs with the meaning of movement (“walked,” “digged,” “mined”). The writer uses the noun “trouble” twice, which contains the essence of Matryona, emphasizing her love for work and activity.

Talking about how the heroine “achieves” a pension, the author uses the technique of syntactic parallelism in the narrative: “go again”, “the third day go again”, “the fourth day go because...” So the writer once again emphasizes the heroine’s tenacity and persistence in achieving its “righteous” goal. The features of Matryona’s speech are also conveyed using incomplete sentences and inversion. These syntactic devices help the author show the emotionality and spontaneity of a village woman.

Matryona resembles Nekrasov’s heroines. Even the name is the same: let’s remember Matryona Timofeevna from the poem “Who Lives Well in Rus'.” Heroine A.I. Solzhenitsyn is similar to her in her peasant soul, but she does not have the “majesty of a Russian Slav”, like Matryona Nekrasov.

Before us is an honest, fair, but absurd, poor, even wretched woman; a man of a selfless soul, absolutely unrequited, humble; righteous woman, without whom, according to A.I. Solzhenitsyn, “a village is not worth it.” The writer manages to create such a multifaceted, amazing image of a Russian peasant woman using various artistic means.

Brigadenko Yulia, 11th grade, 2006

Select from the presented works only those five that fit the genre definition of “poem”. Write down their numbers, indicate the authors.

1. "Boris Godunov"
2. "House in Kolomna"
3. "Romeo and Juliet"
4. "Volga and Mikula Selyaninovich"
5. "The Snow Queen"
6. "Vasily Terkin"
7. "Svetlana"
8. “Song... about the merchant Kalashnikov”
9. "May Night, or the Drowned Woman"
10. "Lefty"
11. "Glove"
12. "The Bronze Horseman"
13. "Mozart and Salieri"
14. "French Lessons"
15. "Jack Frost"

Answer

Poems : № 2, 6, 8, 12, 15.

• “House in Kolomna” (A.S. Pushkin)
• “Vasily Terkin” (A.T. Tvardovsky)
• “The Bronze Horseman” (A.S. Pushkin)
• “Song... about the merchant Kalashnikov” (M.Yu. Lermontov)
• “Frost, Red Nose” (N.A. Nekrasov)

Evaluation criteria

For correctly identified numbers - by 0.5 points(total 2.5 points).

If the work is not classified or incorrectly classified as a poem, but the author is indicated correctly - 0.5 points for the position.

Other works:

• “Boris Godunov” (A.S. Pushkin)
• "Romeo and Juliet" (W. Shakespeare)
• “Volga and Mikula Selyaninovich” (folk epic)
• "The Snow Queen" (H.H. Andersen)
• “Svetlana” (V.A. Zhukovsky)
• “Mozart and Salieri” (A.S. Pushkin)
• “May Night, or the Drowned Woman” (N.V. Gogol)
• “Lefty” (N.S. Leskov)
• “The Glove” (F. Schiller, translation by V.A. Zhukovsky/M.Yu. Lermontov)
• “French Lessons” (V.G. Rasputin)

Task 2. “CREATIVE TASK”

Before you is a fragment of a work of art containing a description of a certain place. Imagine the people inhabiting the hut. Write an essay about the inhabitants of this place. Rely on artistic details in the given fragment. Give the characters names, describe their appearance and character. Write competently, coherently, freely. Recommended length: 150–200 words. It is not necessary to imitate the author's style.

Finally, I got across this swamp, climbed a small hillock and now could get a good look at the hut. It wasn't even a hut, but fairytale hut on chicken legs. It did not touch the ground with its floor, but was built on stilts, probably due to the flood that floods the entire Irinovsky forest in the spring. But one side of it had sagged over time, and this gave the hut a lame and sad look. Several panes of glass were missing from the windows; they were replaced by some dirty rags, sticking out like a hump. I pressed the pin and opened the door. It was very dark in the hut, and after I had looked at the snow for a long time, purple circles appeared before my eyes; Therefore, for a long time I could not make out whether there was anyone in the hut.

(A.I. Kuprin. “Olesya”)

From schoolchildren not required recognize these fragments and restore the names of the heroes. It is important that they can describe possible characters who may inhabit this space, and create an image of a person through interior or landscape details.

Task 3. “WORKING WITH TEXT”

Read it. Write an essay about this story, answering the questions posed. Write in a coherent text, freely, clearly, convincingly and competently. Recommended length: 250–300 words.

Vladimir Osipovich Bogomolov (1924–2003)

PEOPLE AROUND

She is dozing on the train, lying on a bench with her hand under her head. Poorly dressed, in a red, short coat and warm, out-of-season cats; on his head is a gray frayed scarf. Suddenly he picks up: “Isn’t this Ramen yet?” - sits down and, seeing that it is raining outside the window, exclaims sadly and with angry concern:

- What an enemy!.. Well, it’s necessary!

– Mushroom rain – how did it bother you?

She looks in bewilderment and, realizing that these are townspeople in front of her, explains:

“It’s no longer needed for bread.” Not necessary at all. – And with soft reproach, cheerfully:

- Tea, we feed on bread, not mushrooms!..

Short, tanned, wrinkled. Old, old - about eighty years old, but still quite alive. And the hands are calloused and strong. Two yellow teeth, thin and long, stick out in the front of the mouth.

He straightens his scarf and, smiling friendly, willingly talks and talks about himself.

She is from near Irkutsk. The son died, the daughter died, and there were no relatives.

I went to Moscow for a “pension”, and, as it turns out, both there and back – without a ticket.

And no luggage, not even a tiny bundle...

- How can that be, without a ticket? And they didn’t put you down?.. - they are surprised around. – What about control?.. Was there control?

- Came twice. What about control?.. – she smiles weakly. – Control is also people. There are people all around!..,” she says with conviction and joy and, as if making excuses, adds: “I’m not like that, I’m on business...”

This is her “There are people all around!” there is so much faith in a person and optimism that everyone somehow feels better, brighter...

To travel half of Russia, more than five thousand kilometers, without a ticket and without money, and to return in exactly the same way is incomprehensible to the mind. But they believe her.

There is something very good, sincere, wise in her; her face, eyes and smile glow with friendliness, and are so sincere - all outward - you simply cannot help but believe her.

One of the passengers treated her to a pie, she took it, thanked him with dignity, and eagerly sucked and squeezed, lightly squeezed with her two teeth.

Meanwhile, outside the window, after the rain, the sun peeked through and sparkled dazzlingly with millions of dewdrops on the grass, on the leaves and on the roofs.

And, leaving the pie, she, joyful, radiant, squinting her faded old eyes, looks out the window as if spellbound and says enthusiastically:

- Fathers, what a beauty!.. No, look...

1. By what means was the portrait of the heroine created?
2. What can you say about the heroine’s inner world? What words is it reflected in?
3. What's it like author's attitude to the heroine?
4. Can you explain the title of the story?

For ease of assessment, we suggest focusing on the school four-point system. Thus, when assessing the first criterion, 0 points correspond to a “two”, 5 points to a “three”, 10 points to a “four” and 15 points to a “five”. Of course, intermediate options are possible (for example, 8 points correspond to a “B minus”).

The maximum score for all completed tasks is 70.

1. I.S. Turgenev: life and creativity. “Mumu” ​​- from the history of creation. Historical and cultural basis of the work.
2. Gerasim and Tatyana: the history of their relationship. Spiritual qualities of Gerasim.
3. Gerasim and Mumu: the happiness of the hero.
4. Gerasim's silent protest. Symbol of the muteness of serfs.

Lesson 2.

Subject: Gerasim: characteristics of the hero. Image creation tools. Portrait, description of the premises as a means of characterizing the character.

Textbook: Literature. 5th grade. Textbook-reader in 4 parts, part 2. Compiled by V.Ya. Korovina and others. M., Education, OJSC Moscow Textbooks, 2006.

Goals: achieve students' understanding of the role of the portrait, description of the room in work of art; teach to analyze the text, paying attention to the role of such artistic and visual means as hyperbole, comparison, diminutive suffixes; to cultivate an aesthetic attitude towards the word, to develop interest in it as a means of creating an image in a literary work; to cultivate interest in fine art through portrait images of the characters in the story.

Teaching methods: verbal (conversation), visual (illustration), reproductive (text analysis, selection of synonyms, explanation of lexical meanings), work with a textbook (text) both independently and for the whole class.

Lesson progress:

1. Org moment.
2. Work on the topic of the lesson.

• You started reading the story. What are your impressions? Do you want to read to the end? Why?
• What did you like about the beginning of the work? What difficulties did you encounter while reading?
• Where does the story take place? What characters do we meet? What do we learn about them?
• Commented reading 1 paragraph (page 43). Explain the meaning of the words “miserly and bored old age”? Directly or figuratively Does Turgenev use these words in relation to the lady? Why was her life like this? How did you understand these words: “ Her day, joyless and stormy, has long passed; but her evening was blacker than night”? What words are used figuratively here? When does a person say about himself or others that the day is sad and stormy? Why did the lady live through such days? (The lady’s old age passed alone, her children left her: “her sons served in St. Petersburg, her daughters got married..”) Why do you think children were not frequent guests in their mother’s house?
• How does Gerasim appear on the pages of the story? Describe it. Which external features did you notice the hero? What attracted you to them? What qualities of Gerasim seemed the most important?
• Commented reading(pp. 43-44) Choose synonyms for the word “servants” (servants, servants, serfs) How did Gerasim stand out among her? What associations do you have when you hear the word “hero”? What heroic qualities of the hero does Turgenev himself point out? Read (“twelve inches tall”, “worked for four”, “leaning his huge palms on the plow”, “crushingly acted with a scythe”, “long and hard muscles of his shoulders”, “threshed non-stop with a three-yard flail”) Explain the expression “tireless work” . What quality should a person have who can work like this without getting tired? (hard work) What comparison does Turgenev use when describing Gerasim? (“how the lever went down and up...the muscles of his shoulders”) Let’s think about why the author chooses this comparison? (the lever is the tool that makes the mechanism work smoothly and clearly, and Gerasim “taught” his body this)
• Let's think about why Turgenev, speaking about the peasant's first assistant in plowing, a horse, uses the word “little horse”? What shade does the word acquire and due to what? (the role of the diminutive suffix, contrast: the huge Gerasim and the small horse.)
• Is there an assessment of the hero by the author himself? Support your answer with quotes. (“he was... the most wonderful person”, “he was a nice man…”) In relation to what qualities of the hero does the author express this attitude: to his external or internal characteristics?
• Commented reading(pp. 44-45) How did Gerasim get into the lady’s house? Read how you felt about moving to Moscow? (“bored and perplexed”) Explain the meaning of the word “perplexed”? Why was the hero “bored”? (his heart yearned for the fields, the “fields” where his whole life had been spent) Where does this bewilderment come from? After all, Gerasim understood that he was a serf, and therefore the lady had the right to do with him as she wished? (with his heroic physique, the work of a janitor was too simple for him, not on par with what he had been doing in the village all these years)
• What word did Gerasim call his new work? (“joke”) Let’s try to explain this. But such work is a blessing compared to the previous one, then why did Gerasim so often want to be left alone, go into the fields and “throw himself face down on the ground and lie motionless on his chest for whole hours...”? (sadness for my former life in the village, love for my native land, the understanding that no one will take into account his opinion as a serf, especially since he is mute) What comparison does the author choose here, talking about how difficult it was for Gerasim to adapt to the new life? (“he lay motionless on his chest, like a captured animal”) And where are captured animals kept? Why did the hero perceive himself as if in a cage? Explain.
• What was the new job Gerasima? Tell me. Did Gerasim really have so little to do? Could it be that Gerasim could complete all these tasks “in half an hour”? How did the hero work? Let's find hyperbole in the description of Gerasim. (“not only the cart, but the horse itself will be pushed out of place,” “having caught two thieves, he hit their foreheads against each other, and hit them so hard that at least don’t take them to the police later...”) Why did those around him “begin to respect him very much”? (for dexterity, enormous physical strength, which he took not in order to frighten people, to cause fear and respect for himself, but in order to help others, as in the case of thieves) What comparison does Turgenev use when talking about the work of a janitor? (“his ax rings like glass”) Explain how you understand this image?
• Commented reading(p. 45) Why was the servant who lived with the lady “afraid” of Gerasim? (firstly, his physical strength caused fear, secondly, his dumbness scared people away, thirdly, Gerasim had a “stern and serious disposition”) What words in describing the attitude of others towards him make you smile? Read (“even the roosters didn’t dare fight in front of him, otherwise there would be trouble!”) Why did Gerasim, of all poultry, especially respect geese? (as Turgenev writes, Gerasim himself looked like a “sedate gander,” so he fed them and followed them)
• How does Gerasim appear? Describe it.
• Work from illustrations. Consider the proposed illustrations. They depict Gerasim. This is how the artists saw him. You see that the portraits of the hero are created in different styles of writing, using different visual means. Tell me, which portrait do you think best conveys the image of the hero? Explain your point of view. Which portrayal of the hero do you disagree with? Please comment.
• Each of us knows what a portrait is. This is a picture of a person. It can be painted with watercolors, ink, oil paints, made from any material, it could be a photograph. There are also sculptural portraits. But all of them, one way or another, are created by something material. There are portraits created with words. You and I create them almost every day, whether talking about friends, describing them, about acquaintances, or just about different people, which we need to describe. We always imagine what the people we read about in a work look like, because the writer drew them verbally, and we imagine their appearance: appearance, gait... But a portrait in literature is also facial expressions, gestures of the hero,
  Notebook entry:portrait- description of a character’s appearance in a literary work. Typically, a portrait illustrates those aspects of a personality that are important to the author.
• How do you understand the word “closet”? Explain the meaning of the word? Why didn’t Turgenev put Gerasim in the house, not in the room, not in the attic, not in the room? What associations do you have with this word? (we remember the closet of dad Carlo, who gave birth to Pinocchio) How did Gerasim arrange his closet? Let's read. Prove that based on the situation, you and I can already tell a lot about the person who lives here. What does Gerasim’s bed say, “a truly heroic bed”? (his enormous physical strength, he made it himself - a craftsman, a jack of all trades), “the table is strong and squat”? How do you understand this word “squat”? “Heavy chest” - explain the meaning of the adjective. Find the hyperbole in the description of Gerasim’s closet (“a hundred pounds could have been laid on it / the bed/ - it would not have bent”) What qualities of Gerasim are indicated by the objects in the closet? (love of strength, solidity, order)
• How did we see Gerasim in the first pages of the story? Summarize.

Characteristics of Gerasim.

Portrait

Portrait - component character structures. A literary portrait is a three-dimensional concept. It includes not only the internal traits of the hero, which constitute the essence of a person’s character, but also external, complementary ones, embodying the typical, characteristic and individual. The character's portrait is one of the important components of the work, organically fused with the composition of the text and the author's idea.

Each word artist has his own style of creation. character image, a component of his poetics. There are also objective methods of portrait characteristics. Development portrait art is closely related to the change and evolution of literary and artistic styles. Thus, a portrait in sentimentalism is distinguished by a certain picturesqueness; it reflects the sensual world of the hero. Romantic aesthetics is dominated by a bright detail that emphasizes one or another character trait, revealing the infernal or sacred essence of the soul. The picturesqueness of the portrait description is achieved through an abundance of colorful means and metaphors.

An emphasis on one particular detail is characteristic of any type of portrait (sentimentalist, romantic, realistic, impressionistic). For example, the portrait of Silvio from A. S. Pushkin’s story “The Shot”: “The gloomy pallor, sparkling eyes and thick smoke coming out of his mouth gave him the appearance of a real devil.” Or the description of the revolutionary Shustova in L.N. Tolstoy’s novel “Resurrection”: “... short plump girl in a striped chintz blouse and with curly blond hair fringing her round and very pale face, similar to her mother.” It is the use of epithets specific to aesthetics that gives these portraits a different romantic or realistic intonation. In both portraits one detail is named - “pallor”. But in the guise of Silvio it is “pale” fatal hero, and in L.N. Tolstoy - the sickly pallor of the heroine, who languishes in a gloomy prison. The clarification - “a very pale face, similar to a mother” (although the reader has never seen and will never see a portrait of this girl’s mother in the text of the novel) - strengthens the reader’s compassion for the revolutionary.

Detailed portrait. Artists give words detailed description the hero’s appearance: height, hair, face, eyes, as well as some characteristic individual features designed for visual perception. A detailed portrait usually covers all aspects of the hero’s appearance, right down to his costume, movements, and gestures. Such a portrait is given, as a rule, when the character is first introduced and is accompanied by the author’s commentary, and as the plot develops, additional touches are added to it. This type of portrait is especially common in the novels of I. S. Turgenev. The reader immediately gets an idea of ​​the writer’s favorite characters. Portrait characteristics abound in especially vivid details. female images in the novel "Rudin". Sometimes I. S. Turgenev deliberately intrigues the reader and presents a portrait of the heroine gradually or in a variety of guises. In the story “Asya,” the author describes in detail the figure and gestures, but does not show those details of the portrait that would allow one to guess the character of the heroine: her eyes were hidden by a large straw hat, so the reader cannot yet get a complete picture of the girl. Then Asya is portrayed either as a playful child in the costume of a young man, or as an innocent peasant woman, or as a socialite. For a long time she remains a mystery both for Mr. K and for the reader.

F. M. Dostoevsky in the novel “Crime and Punishment,” before introducing the main character, first gives a description of his wretched closet. This detailed depiction of the home precedes the portrait of Raskolnikov and creates a certain mood for holistic perception image. An important detail is the introduction of the very description of appearance: “By the way, he was remarkably good-looking, with beautiful dark eyes, dark brown hair, above average height, thin and slender.” In the epilogue, when Raskolnikov finds hope, his “beautiful dark eyes” are illuminated with light, “deep thoughtfulness” no longer darkens his face young man.

Psychological portrait. In this portrait description It’s not so much the external signs that are important, but psychological characteristics. The social details of the character image are also noted here. The authors use various artistic techniques to reveal the hero's inner world. A. S. Pushkin, presenting the main character in the novel “Eugene Onegin”, does not give a detailed description of Onegin’s appearance and the environment that formed him, as was customary in the classic Western novel, and only jokingly remarks in end of VII chapters: “I sing to a young friend and his many quirks...” The poet begins the novel with “the thoughts of a young rake,” and this is already an important psychological characteristic of the image and reveals the meaning of the epigraph to the entire novel, where the main properties of the nature suffering from “Russian blues."

Many researchers have noted that Andrei Bolkonsky in L.N. Tolstoy’s novel “War and Peace” is an artistic continuation of the image of Eugene Onegin. A skeptical attitude towards the world is characteristic of both heroes. However, for Tolstoy it is important to show not only inner world hero, but also the society that Bolkonsky despises. Significant details of the portrait are accompanied by the author’s comments, suggesting that the writer shares the views of the hero: “Prince Bolkonsky was small in stature, a very handsome young man with definite and dry features. Everything about his figure, from his tired, bored look to his quiet, measured step, represented the sharpest contrast with his little, lively wife. He, apparently, not only knew everyone in the living room, but was already so tired of him that he found it very boring to look at them and listen to them...”

L.N. Tolstoy very carefully selected details to characterize the heroes. He considered it necessary to note both psychological and social characteristics character of the hero. This is evidenced by the preparatory work of the writer. L.N. Tolstoy wrote “profiles” for each character under the following headings: “property, social, love, poetic, mental, family.” For example, the image of Nikolai Rostov:

“Property. He lives luxuriously according to his father, but is prudent.

Public. Tact, cheerfulness, constant courtesy, a little of all talents.

Poetic. He understands and feels everything a little.

Mental. Limited, excellent, speaks vulgarly. Passionate about fashion.

Love. Doesn’t love anyone deeply, little intrigue, little friendship...”

The writer sought to convey the characters of people in their versatility, development and movement. This is what achieves the amazing plasticity and relief of Tolstoy’s images.

In the portrait characteristics of L.N. Tolstoy one can always feel the author’s attitude towards the hero. No matter how much the writer calls Vera Rostova beautiful and no matter how much he describes the right traits her face, the reader still does not believe in her beauty, because she was cold, calculating and alien to the “Rostov breed”, the world of Natasha and Nikolenka.

In the novel "Resurrection" L. N. Tolstoy replaces individually characteristic pictorial details when they relate to a character belonging to high society, negative details associated with the hero’s belonging to a certain class; such a hero often does not even have a name. In the first version of the work, a detailed portrait of the merchant juror is given: “... long-haired, gray-haired, curly-haired, with very small eyes.” IN final version In the text, the portrait of the merchant is stripped of everything individualized, leaving only one socially defining feature: “A tall, fat merchant.”

I. S. Turgenev uses the principle of “secret psychology” in creating a portrait. The writer hides his attitude towards the characters. He can have equally beautiful both positive and negative characters. However, with a purposeful selection of vocabulary, Turgenev makes the reader feel the falsity of the nature of Panshin or Varvara Pavlovna from the novel “ Noble nest" Lavretsky’s wife “was calm and self-confidently affectionate, so that everyone in her presence immediately felt at home; Moreover, from her entire captivating body, from her smiling eyes, from her innocently sloping shoulders and pale pink hands, from her light and at the same time, as if tired, gait, from the very sound of her voice, slow, sweet, there was a breath of elusiveness, like a thin smell, insinuating charm, soft, still bashful, bliss..."

Important role In a psychological portrait, objective detail and various literary reminiscences are performed. A striking example of a detailed psychological portrait is the description of Pechorin’s appearance. M. Yu. Lermontov gives several descriptions of his appearance, as if gradually revealing the phenomenon of the “hero of the century.” In the chapter "Bela" Maxim Maksimych notices only the strangeness of this amazing person, the author is already preparing the reader to perceive the exclusivity of Pechorin. The chapter “Maksim Maksimych” presents a detailed psychological portrait the main character, the “habits of a decent person”, and the “aristocratic hand”, “secrecy of character” are noted. The comparison of Pechorin with Balzac’s coquette becomes especially significant. This reminiscence spoke volumes to Lermontov’s contemporaries. In O. Balzac’s story “A Thirty-Year-Old Woman” and in his even more famous “Theory of Gait”, a psychological motivation is given for the manner in which one behaves, to please people, and to hide contempt for them. With this comparison, M. Yu. Lermontov included in the portrait a whole complex of psychological details that make it possible to explain the hero’s inner world.

Satirical and ironic portrait. In satirical portraiture, psychological detail and poetic metaphor play an important role. Means artistic expression based on comic techniques. The power of ridicule and denunciation depends on the degree of discrepancy between the appearance and essence of the phenomenon, between the form and content of the image, action and character. In different artistic aesthetics The comic technique is used in portraiture.

Pushkin creates a type of parody portrait in the novel Eugene Onegin when he introduces Olga to the reader: “Eyes, like the sky, blue, // Smile, flaxen curls, // Movements, voice, light figure, // Everything about Olga... but any novel // Take it and you will find it right // Her portrait...”

It seems strange to Onegin that Lensky is in love with Olga: “...I would choose another if I were like you, poet...” She recalls already familiar images of heroines: “Exactly in Vandyck’s Madonna: // Round, red-faced, / / Like this stupid moon // On this stupid sky.”

An ironic combination of details is found in the portrait of Lensky. It is especially important that in one of the published texts of “Eugene Onegin” there was a clarification “with a soul, a Göttingen philistine,” and not, as we now read, “with a straight Göttingen soul...”. By clarifying the peculiarity of the hero’s burgher nature, the author prepares the reader for the fact that the poet “had an ordinary destiny.” His romantic enthusiasm is just a tribute to fashion.

M. E. Saltykov-Shchedrin in “Provincial Sketches” creates a gallery of satirical portraits. The author often uses the technique of “effective phraseology”, based on special shades of intonation. In the chapter “Porfiry Petrovich”, in addition to vivid details, an important role is played by rhetorical figures that introduce satirical tones into the image: “He is not tall, and yet every movement of his body sprinkles with unbearable grandeur... What a pity that Porfiry Petrovich did not grow tall : A great governor would be! It also cannot be said that there was much grace in his entire pose; on the contrary, the whole of it is somehow folded into a ridge; but how much calm there is in this pose! How much dignity there is in this gaze, dimming from an excess of greatness!”

Satirical portraits of M. E. Saltykov-Shchedrin were created using grotesque, hyperbolization and fantasy. Often one detail is generalized, and the metonymic image reaches the level of typification. The use of diminutive forms of vocabulary allows us to convey the author's irony.

A.P. Chekhov uses an expressive detail of the portrait, which can replace the description of appearance. Thus, in the story “Thick and Thin” there are no portrait characteristics. A.P. Chekhov focuses on smells. The “thin” one smelled of “ham and coffee grounds,” and the “fat” one smelled of “sherry and orange blossom.” The title of this story is a literary reminiscence, allowing the reader to immediately recall Gogol’s detailed description of officials in one of lyrical digressions « Dead souls”, which presents satirical generalized portraits of “fat” and “thin”.

With the help of taste associations, A.P. Chekhov also represents the female nature in the story “A Woman from the Point of View of a Drunkard”: “A woman is an intoxicating product, which they still haven’t thought of imposing an excise tax on... A woman under 16 years old is distilled water. .. From 20 to 23 - Tokay. From 23 to 26 - champagne. 28 - cognac with liqueur. From 32 to 35 - beer from the Vienna plant. From 40 to 100 - fusel oil..."

A wide variety of portrait characteristics can be observed in epic texts. Authors epic works use portraits-descriptions, portraits-comparisons, portraits-impressions, portraits-metaphors. Other means of artistic expression in conveying the hero’s appearance are used in lyricism and drama. IN lyrical genres the portrait is found in ballads, poems, epigrams, songs, parodies, as well as in “character” lyrics.

The master of satirical portraiture in lyric poetry was A. S. Pushkin. In one capacious detail, he expressed the entire meaning of the image, and the portrait was so recognizable that contemporaries easily guessed who the epigram was written for. For example, the humorous poem “Meeting of Insects”:

Here is Glinka - Ladybug, Here is Kachenovsky - an evil spider, Here is Svinin - a Russian beetle, Here is Olin - a black goosebump, Here is Raich - a small bug.

Portrait-comparison - a metaphorical description of Pushkin's friends.

A traditional romantic portrait can be observed in poems, where, with the help of detailed comparisons and stable epithets, the poetic appearance of the heroes is created.

In the genres of message and dedication, one can find a portrait of the addressee; as a rule, they indicate the main character traits or special properties of the soul that are dear to the poet. Sometimes there are detailed portrait characteristics. D. Davydov creates a general portrait in the poem “Poetic Woman”. This work was very popular, it was known by heart and was often copied into albums. The main poetic device is an extended metaphor, represented by nominal sentences.

What is she? - Impulse, confusion, And coldness, and delight, And resistance, and passion, Laughter and tears, the devil and God, The ardor of midday summer, Hurricane beauty, A frenzied poet A restless dream!..

Portrait characteristics in lyrics are created with the help of metaphors and allegories.

There is virtually no description in drama, with the exception of new dramatic forms such as epic theater. The main means of portrait characteristics in plays can be called the author's stage directions, monologues of the characters and replicas of the characters.

Classicism reveals a stable typification of heroes, dividing them into positive and negative. Therefore, the authors of tragedies and comedies clarify the details of the portrait in their stage directions. For example, the hero's costume indicates his social status. An important place is given to the character’s speech behavior. It is the hero’s speech that is an exhaustive characteristic of the classic image. In Moliere's comedy "The Miser" there is no description of the appearance of the characters and their characters in the performance characters or remarks. The description of “young handsome men” given by 60-year-old Harpagon: “I wonder why women love them so much... rooster voices, cat whiskers, tow wigs, pants barely holding on, belly out...” - an example of a satirical portrait from character lines.

In a realistic drama, the portrait of the hero is given both in the author’s presentation of the characters, as, for example, in Gogol’s comedy “The Government Inspector”, and in an extended stage direction, as in Chekhov, as well as in the monologues of the heroes, in the characters’ remarks.

A. N. Ostrovsky, characterizing Boris in the play "The Thunderstorm", gives in addition to the indication - "a young man, decently educated" - also a clarification: "All persons, except Boris, are dressed in Russian." This author's note is very important for understanding the character's image. His European appearance is manifested not only in appearance and not so much in education, but in the hero’s alienation from Russian life.

Example of detailed psychological characteristics The hero’s remark may include Treplev’s reasoning about his mother in the play “The Seagull”: “...A psychological curiosity is my mother. Undoubtedly, she is talented, smart, capable of crying over a book, will tell you everything about Nekrasov by heart, looks after the sick like an angel; but try praising Duse in front of her! Wow! You only need to praise her alone, you need to write about her, shout, admire her extraordinary performance... Then she is superstitious, afraid of three candles, the thirteenth. She's stingy. She has seventy thousand in the bank in Odessa -? I know this for sure. And ask her for a loan, she will start crying... She wants to live, love, wear light blouses, but I am already twenty-five years old, and I constantly remind her that she is no longer young. When I’m not there, she’s only thirty-two years old, but with me she’s forty-three, and that’s why she hates me...” This is already a whole psychological sketch, and not a remark in which the character’s appearance is outlined with a stroke.

The artistic study of man has come a long way from schematic typification to complex images. Each writer has an individual style and a system of poetic techniques for creating vivid images.

Municipal budget educational institution

Average secondary school №21

"Portrait of a hero as a means of artistic characterization"

MBOU secondary school No. 21

Scientific supervisor: Kurlenko G.P.,

Russian language teacher

and literature MBOU secondary school No. 21

Kovrov, 2012

Purpose of the abstract:

Explore portraits as a means of artistic characterization.

Research objectives:

1.Get acquainted with the history of the appearance of the portrait.

2.Consider portraits of heroes in different areas of literature.

Consider examples of portraits from various authors.

Introduction

Over the long history of its existence, literature has accumulated a rich arsenal of various techniques with the help of which an artistic image is created. One of essential means The characteristics of the hero is his portrait. Portrait in literature is one of the means of artistic characterization, which consists in the fact that the writer reveals the typical character of his heroes and expresses his ideological attitude towards them through the image of the heroes’ appearance: their figure, face, clothing, movements, gestures and manners. Given how much physical description can reveal, writers often use it to describe a character. For example, such a description was well accomplished by A.S. Pushkin: “His appearance seemed remarkable to me: he was about forty, of average height, thin and broad-shouldered. There was gray in his black beard; big eyes so they ran. His face had a rather pleasant, but roguish expression. The hair was cut into a circle; he was wearing a tattered overcoat and Tatar trousers." A masterful description makes the character's appearance almost "alive", visible. Appearance creates the first impression of the character and becomes a step towards understanding the inner world of a person: “one sideways left-hander, a birthmark on his cheek, and the hair on his temples was torn out during training”

In fiction as a verbal art, a portrait is only one of the means of characterization, used in compositional unity with other similar means: the unfolding of action in the plot, the description of the thoughts and moods of the characters, the dialogue of the characters, the description of the situation, etc. An example is cite a portrait from the work “Asya” by Turgenev: “My gaze fell on a handsome young man in a cap and wide jacket; He was holding a short girl by the arm, wearing a straw hat that covered the entire upper part of her face.” A unique system of such means of characterization creates an artistic image in literature, and the portrait thereby turns out to be one of the sides artistic image.

Among all other methods of depiction, the portrait is distinguished by its special visual clarity and, together with the landscape and everyday descriptions, gives the work a special power of representation. Here, for example, is a very unusual portrait by N.V. Gogol: “He was beautiful even in death: his courageous face, recently filled with strength and a charm invincible for wives, still expressed wonderful beauty; black eyebrows, like mourning velvet, set off his pale features.”

Being one of the aspects of an artistic image, a portrait includes those main points that are essential for the image as a whole. In the portrait of a hero, as in his entire image, there are both general, typical features and individual ones. On the one side, literary hero portrayed in most cases as social and historical person, a representative of a certain social era, a certain class and class group; his appearance, movements, and manners usually characterize the social environment that the writer generalizes and ideologically evaluates in his work. On the other hand, the literary hero is, as a social and historical person, different from other members of his environment; choice and combination individual traits The writer’s portrait of him also expresses his ideological attitude towards the social group of which the hero is a representative:

Always modest, always obedient,

Always cheerful like the morning,

How a poet's life is simple-minded,

How sweet is love's kiss;

Eyes like the sky are blue,

Smile, flaxen curls,

Everything in Olga... but any romance

Take it and find it right

Her portrait...

The culture of portraiture developed gradually and had a direct connection with the author’s immediate assessments. The first literary portraits were published in magazines. "Pioneer" in Western Europe became C. Sainte-Beuve. In 1829, the magazine Revue de Paris published his portraits of Corneille, Boileau, and Lafontaine. The history of portraiture in Russian criticism begins with Karamzin’s “Bulletin of Europe”, in which the publisher himself published a biography of I.F. Bogdanovich (Bulletin of Europe, 1803, No. 9-10). Many Russian magazines, including art history magazines, had special sections called “Biography” or “Biography and Neurology.” Thus, in the “Drama Journal for 1811” (Moscow), “Journal fine arts"(St. Petersburg, 1823); the magazine “Repertoire of the Russian Theater” (1823), the magazine “Artist” (Moscow, 1889) and others, there were special departments in which similar portrait essays. Subsequently, the genre went beyond critical sections and crossed the boundaries of magazine types of publications.

The peculiarity of the emergence of the literary portrait is the fact that in Europe and Russia it was born as a genre literary criticism and in connection with the emergence of the so-called “new romantic method”. In the early stages of the development of literature, portraits abound in metaphors, comparisons, and vivid epithets: “These were two stalwart young men, still looking from under their brows, like recently graduated seminarians. Their strong, healthy faces were covered with the first fluff of hair, which had not yet been touched by a razor.” Despite its colorfulness, such portraiture was not an accurate reflection of the character's individual characteristics. This situation persisted in literature until the 19th century.

Portrait in various literary genres

In various literary births and genres, the portrait changes with changing artistic methods, styles and literary trends. At different stages literary development, at its various moments the portrait differs in the degree of its typicality and the degree of its individualization based on its ideological content. In the works of writers who gravitate towards naturalism with its social and everyday generalizations or to realism, which reveals deeper social contradictions, the portrait of heroes is usually distinguished by realistic plausibility and typicality. The hero is portrayed as a typical representative of his environment, in its ordinary, everyday everyday relationships and settings; in the portrait of heroes, everyday everyday features are most often emphasized, which do not have anything exceptional or extraordinary in them. Such a hero was shown in “The Overcoat” by N.V. Gogol: “The official cannot be said to be very remarkable, of short stature, somewhat pockmarked, somewhat reddish, somewhat blind in appearance, with a small bald spot on his forehead, with wrinkles on both sides of the cheeks and a complexion that is called hemorrhoidal.”

In the works of writers distinguished by certain shades of romanticism and fantasy, one can often see a repulsion from the ordinary and everyday. The characters are portrayed as exceptional individuals in unusual, rarely encountered circumstances, and their portraits contain a lot of the extraordinary, the exaggerated, and sometimes the fantastic. An example is the detailed description of the changed clothes of the sons of Taras Bulba: “The students suddenly changed: instead of the previous dirty boots, red morocco boots with silver horseshoes appeared on them; trousers as wide as the Black Sea, with a thousand folds and ruffles, were covered with a golden spectacle; Long straps with tassels and other trinkets for the pipe were attached to the glasses. A scarlet-colored Cossack, cloth bright as fire, was girded with a patterned belt; there were embossed Turkish pistols
tucked into the belt; the saber clanged against his legs. Their faces, still slightly tanned, seemed to become prettier and whiter; the young black mustache now somehow set off its whiteness and the healthy, powerful color of youth more brightly; they looked good under black mutton caps with a golden top.” This is no longer an everyday, but a romantic portrait, found mainly in romantic poems, ballads and lyrics. However, realist writers’ portraits are not always distinguished by maintaining the features of external verisimilitude. In some works of realist writers, permeated with romance or a satirical mood, reaching the point of grotesque, we find a typical portrait of typical heroes, shown in exaggerated everyday relationships or outside of them. Depending on the character literary style The content of the portrait and the place given to it change. Hence the very different forms of portraiture in the history of literature - from richly developed to almost complete absence him (for example, among the Symbolists). The Romantics abandoned all previous aesthetic norms, but could not remain independent for long. Their portraits gradually became canonized: a romantic hero must have restless and gloomy look , the features are stern and melancholy.

“Kept a trace of the alarm of abuse

Wrinkles of a dark brow.

There is blood in the weapon and dress;

In the last frantic shake

The hand on the mane froze.”

(Demon, M.Yu. Lermontov)

The sentimental portrait affirms the rich spiritual world of the hero. Attention is paid to the spiritual world of a person, and feelings come first. “A young, well-dressed, pleasant-looking man met her on the street. She showed him the flowers and blushed.” IN this portrait from the work " Poor Lisa» N.M. Karamzin does not pay attention to the face and appearance of the young man. All that is said is that the young man (Erast) was young and handsome, and the girl “blushed” when she saw him.

In folklore goodies fairy tales are always dazzlingly beautiful. The fantastic beauty of good in oral folk art contrasts with the exaggerated ugliness of evil.

“Speak the truth, young lady

There really was a queen:

Tall, slender, white,

And I took it with my mind and with everything;

But proud, brittle,

Willful and jealous."

(The Tale of dead princess and about the seven heroes, A.S. Pushkin)

“She was a tall, slender, dazzlingly white woman -

Snow Queen; and the fur coat and hat she was wearing were made of snow.”

(The Snow Queen, H.H. Andersen)

Only realistic portrait became individualized, in which verbal painting was supplemented by analysis, conveying complexity and diversity, in which the originality of nature was embodied. A wonderful portrait gallery was created by Russian writers of the 19th century. Each of them supplemented already known techniques with their findings in the field of literary portraiture.

One of the first to deploy analytical characteristics the hero's appearance was suggested by M. Yu. Lermontov in the novel Hero of our time . In this work, all artistic means are subordinated to the main goal of the author - to see the hero through the eyes of various characters, to gradually bring the reader closer to unraveling the secret of Pechorin’s personality, whose character develops and reveals itself. An important role in the realization of the writer’s plan is played by the psychological portrait of the hero placed in the short story. Maxim Maksimych . Pechorin's appearance bears the stamp of a complex internal organization. Looking at the hero, the reader begins to understand a lot about his character. The portrait testifies to Pechorin's fatigue and coldness. Grigory Alexandrovich retains the sophistication and sophistication inherent in a person of an aristocratic circle, but they do not save him from indifference to life. The hero’s eyes have the strongest impact on the narrator: “they didn’t laugh when he laughed!.. This is a sign of either an evil disposition or deep, constant sadness. Because of the half-lowered eyelashes, they shone with some kind of phosphorescent shine... It was not a reflection of the heat of the soul or the playing imagination: it was a shine, similar to the shine of smooth steel, dazzling, but cold... "Every feature of Pechorin's face is accompanied by a similar author's commentary . The writer shows that his hero is a man in whose soul the fire of desires has gone out. The feelings left his face, leaving their traces on it and the impression of forces that were not completely wasted, which no longer please Pechorin. He is indifferent to his fate, to his past.

Later, in the works of N.V. Gogol, I.S. Turgenev, F.M. Dostoevsky, L.N. Tolstoy, detailed characteristics of appearance were replaced by portraits, marking one, but very important semantically important detail.

For example, in the portrait of Gogol’s Akaki Akakievich main feature it turns out to be complete impersonality, emphasized in every way by the writer: “No matter how many directors and various bosses changed, everyone saw him in the same place, in the same position, in the same position, with the same official for writing, so that later they were convinced that that he, apparently, was born into the world completely ready, in a uniform and with a bald spot on his head.”

I. S. Turgenev in the work “Bezhin Meadow” special attention devoted to five boys: Fedya, Pavlusha, Ilyusha, Kostya and Vanya. He describes in some detail the appearance and clothing of each of them: “The first, the eldest of all, Fedya, you would give about fourteen years old. He was a slender boy, with beautiful and delicate, slightly small features, curly blond hair, light eyes and a constant, half-cheerful, half-absent-minded smile. He belonged, by all accounts, to a rich family and went out into the field not out of necessity, but just for fun. He was wearing a motley cotton shirt with a yellow border; a small new Armenian jacket, put on saddled, barely rested on his narrow shoulders; A comb hung from a blue belt. His boots with low tops were just like his boots - not his father’s.” The author concluded from Fedya’s portrait: it belongs to a rich family. This was indicated by his clothes, and the author also noticed that the boy was not wearing his father’s boots, but his own. “The second boy, Pavlusha, had tousled black hair, gray eyes, wide cheekbones, a pale, pockmarked face, a large but regular mouth, a huge head, as they say, the size of a beer kettle, a squat, awkward body. The guy was unprepossessing - needless to say! - but still I liked him: he looked very smart and direct, and there was strength in his voice. He could not flaunt his clothes: they all consisted of a simple shirt and patched ports.” Despite his ugly facial features, the author still paid special attention to Pavlusha and found interesting things in him. “The face of the third, Ilyusha, was rather insignificant: hook-nosed, elongated, slightly blind, it expressed some kind of dull, painful solicitude; his compressed lips did not move, his knitted eyebrows did not move apart - it was as if he was still squinting from the fire. His yellow, almost white hair stuck out in sharp braids from under a low felt cap, which he pulled down over his ears every now and then with both hands. He was wearing new bast shoes and onuchi; a thick rope, twisted three times around the waist, carefully tied his neat black scroll. Both he and Pavlusha looked no more than twelve years old.” Turgenev clearly did not really like the boy’s appearance; this is reflected in the portrait itself. “The fourth, Kostya, a boy of about ten, aroused my curiosity with his thoughtful and sad gaze. His whole face was small, thin, freckled, pointed downwards, like a squirrel's; lips could barely be distinguished; but his large, black eyes, shining with a liquid brilliance, made a strange impression; they seemed to want to express something for which the language - in his language at least - had no words. He was short, frail in build, and dressed rather poorly.” This portrait can be called romantic; Kolya collected in his appearance the features inherent in a romantic image, which was perfectly supported by the author. But he is Vanya it was there at first and didn't notice , therefore Turgenev described him briefly: “he lay on the ground, quietly huddled under the angular matting, and only occasionally put his light brown curly head out from under it. This boy was only seven years old."

F. M. Dostoevsky attached great importance to the appearance of the hero. Revealing the inner world of his characters, the writer sought to show the clash of opposing forces, the constant struggle between consciousness and subconscious, intention and the implementation of this intention. The heroes of his works not only worry, they suffer painfully. Striving for deep psychological motivation of the character, F. M. Dostoevsky subordinates this task and portrait description. But he very vividly describes one old man from “White Nights”: “The face is so important, thoughtful; He keeps whispering under his breath and waving his left hand, and in his right he has a long, knotty cane with a gold knob.” Thus, he gives one small portrait, recording only the main distinctive features hero, does not go deep into descriptions of his smile, hair, eyes. But nevertheless, the image of an old man can be easily imagined.

A recognized master of psychological analysis not only in Russian, but also in world literature is L. N. Tolstoy. Among the writer’s favorite techniques for embodying character, a portrait plays a special role. Tolstoy, as if in a mirror, is reflected living truth of human physiognomy , rare features bring out everything that lurks inside... a person . In the portraits of Tolstoy's heroes, everything is changeable and mobile. Appearance serves as a means of conveying dynamics mental life hero. An example is the portrait of Varenka in the story “After the Ball”: “She was a wonderful beauty even at fifty years old. But in her youth, eighteen years old, she was lovely: tall, slender, graceful and majestic, just majestic. She always held herself unusually straight, as if she could not do otherwise, throwing her head back a little, and this gave her, with her beauty and tall stature, despite her thinness, even bonyness, a kind of regal appearance that would frighten away from her if “If it weren’t for the affectionate, always cheerful smile of her mouth, and her lovely, sparkling eyes, and her entire sweet, young being.” . This portrait also contains notes of romanticism.

IN modern literature, for example, in the work “Kys” by Tatyana Tolstoy, you can find very unusual portraits, incomparable with anything: “And those who were born after the Explosion, those have different consequences - all sorts. Some have hands that look like they are covered in green flour, as if he was rummaging through bread; some have gills; Others have a cock's comb or something else. But it happens that there are no Consequences, perhaps by old age the pimples will disappear from the eyes, or in a secluded place the beard will begin to grow right down to the knees. Or your nostrils will prick up on your knees.” The heroes of the novel look more like monsters than people, although they dress normally and speak in a characteristic caricatured dialect<#"justify">Conclusion

portrait hero literature romantic

So, let's summarize. Portraits appeared in magazines in the 19th century, and in Russia it was born as a genre literary criticism, in connection with the emergence of the “new romantic method”. Romantic portraits became canonized. U romantic heroes there must be certain external characteristics, they must be excited. In folklore there is a constant opposition between good and evil. If positive heroes are always beautiful and kind, then negative ones were distinguished by both external and internal ugliness. In a sentimental portrait, the main thing is to appeal to the feelings and soul of the hero, but in a realistic portrait, on the contrary, the originality of nature is valued. A fantastic portrait can break all boundaries and rules. Such a portrait can contain anything.

Having become acquainted with portraits in works of different genres, from different authors, I can say with confidence that the portrait is one of the most important artistic means, which helps to understand the most complex and contradictory characters. Unlike other ways of depicting a hero, be it fine arts or sculpture, a portrait in a literary work is the most dynamic, capable of fully conveying the appearance, facial expressions, gestures, and movements of a person. It is precisely this completeness that is interesting not only literary portrait, but also all literature in general.

List of materials used

L.I. Krichevskaya “Portrait of a Hero”

www.wikipedia.org

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